There was just one question following the San Diego Opera’s effervescent production of Donizetti’s “The Elixir of Love” Saturday at the Civic Theatre.

Who is soprano Tatiana Lisnic?

Ok, two questions:

How could this possibly be her “North American debut”?

The Moldovan soprano lit up the stage as Adina, the opera’s central character. Simply stated, Lisnic put on a clinic in the art of bel canto singing.

She possesses a slightly darker, more burnished sound than commonly associated with this demanding repertoire, but she demonstrated an ease, flexibility, consistency and beauty of tone from the opera’s beginning, where she mocks her suitor, Nemorino, to end, where she confesses her love for him.

As importantly, her voice was always in the service of her character. Even the most dazzling vocal passages merely seemed a reflection of Adina’s emotions or state of mind. And the way Lisnic moved and presented herself on stage was as natural and effortless as her singing.

She’s welcome here anytime, and she should be welcome New York, Chicago, and San Francisco as well.

The San Diego Opera surrounded Lisnic with singers who were not quite her equal, but were close. Tenor Giuseppe Filianoti (also making his company debut) was compelling as Nemorino, singing with a clear, bright, resonant sound. He had to work a little harder than Lisnic, and sometimes that showed in his high notes, especially in the first act, but for the most part he was an ideal match.

Baritone Malcolm MacKenzie, as Sergeant Belcore, and bass Kevin Burdette, as the quack doctor Dulcamara, had a blast with their roles, MacKenzie preening like a peacock and Burdette chewing up scenery and seeming to relish every moment of it.

The chemistry on stage was palpable and it was a pleasure watching and listening to all four principals play off each other. Some of the credit for that belongs to director Stephen Lawless for establishing a tone and a dramatic framework that encouraged those interactions.

Lawless first originated this production, designed by Johan Engels, at the Los Angeles Opera in 1996, and he’s revived it a number of times since then. Saturday, the production seemed as fresh, vibrant, and alive as if Lawless was presenting it for the first time.

Engels ingenious set depicts Adina’s farm, with the inside of a barn in the foreground and the fields in the background. Giant doors separating the two are opened and closed as the situation demands.

Lawless couldn’t resist a few gratuitous moments, as Donizetti and his librettist, Felice Romani, don’t specify that Nemorino relieve himself in the second act. Maybe that says something about the character’s attitude at that moment. But for the most part, Lawless’ direction was inspired, with it rarely calling attention to itself (a third question: Why is it in opera, people can’t resist standing on tables?).

The chorus sang with aplomb, and under the skilled leadership of conductor Karen Kamensek (making her company debut), the San Diego Symphony was an equal partner in the drama.